LONDON - SHANE MEADOWS WON’T DEAL WITH HOLLYWOOD

Shane Meadows
tells us how, by rejecting some of the more diabolical temptations of
the industry, he manages to make so many good British films – something
that is very rare.

Born in Uttoxeter, Staffordshire, he’s been responsible for a slew of intense, gritty and modern classics including A Room For Romeo Brass, Dead Man’s Shoes and This is England. His new film, Le Donk & Scor-Zay-Zee,
stars his regular collaborator Paddy Considine as a washed-up, deluded
roadie, alongside real-life long-time Nottingham rapper (and former Out Da Ville member) Scor-Zay-Zee,
as the pair try to get a spot supporting the Arctic Monkeys at Old
Trafford. Shot in five days, the film was completely improvised with a
tiny crew after the band granted Meadows access to the gig, and
although it’s a very small-scale comedy, it has moments as engrossing
and as heartfelt as his best work.

Vice: I’ve read varying reports on how much this film cost – somewhere between £30,000 and £50,000.Shane Meadows: Yeah,
the initial figure was about £30,000, and then when we did all the
post-production work, the sound mix, the grade, the Edinburgh Festival
party, altogether it cost about £48,000, but even so, normally people’s
toilet roll bills on films are more expensive than what we did this
for. There are people saying they do things for £50,000, but then
there’s £200,000 worth of hidden extras, and that isn’t the case on
this one.

I was going to say, it must be one of the cheapest theatrical releases ever, no?Quite possibly, yeah, you’re probably right, if it’s not the cheapest I bet it’s right up there.

From what I’ve read, it just started off as a loose idea,
initially as an idea for your website; do you think if you’d planned it
as a proper film with a fully formed production treatment, it would
have been a different ball game? Would it even have happened?Well, we’ve had two or three stabs
at doing something bigger with Le Donk; the character’s been around
since me and Paddy were at college together. We did a drama course for
six months, realized we probably weren’t ever going to be actors but
started a band together, and we went around the local circuit touring.
We started to get a little bit of interest, a few fans, and thought we
were going to conquer the world. We started coming across these
Svengali types – Simon Cowell from Burton-on-Trent type characters. At
first you thought, This guy’s got contacts at EMI, he reckons he’s just
got back from being a roadie for the Black Crowes. And it turns out he
was a roadie for the Wurzels.

So these guys kind of
filled us with all this false hope, told us they were going to be able
to get a recording studio, when in actual fact they had a Tascam
cassette four-track that they set up in the kitchen. So Paddy started
mimicking these kind of people and created Donk a long long time ago.
And the whole idea with the film is… the thing with Paddy is he’s so
generic at improvisation we wanted to shoot it like a documentary. It’s
not like Borat where you’ve got a team of writers writing the
funnies for you, this is for real – everything that comes out of
Paddy’s mouth came out that second, he didn’t have someone telling him
what to say, a la Steve Coogan, a la Sacha Baron Cohen.

Viewers are pretty savvy, they assume in films like this
actors have some sort of framework to improvise in. It’s surprising how
much of this one is actually real.There really was no script,
practically no idea. I only even wanted Donk to have a wife who was
pregnant because the girl I wanted to play the part was actually
pregnant. Even the stuff with Scorz was like that; it was initially
just supposed to be Le Donk, but Scorz turned up for an audition and
started rapping and I just thought we had to use him. And somehow this
mental thing unfolded, it went from something that was supposed to be
some mad short on my website – when you’ve got 50,000 people cheering
for him we thought we should give it a small cinema release.

Was that crowd briefed at all?No, that would be impossible. I’ve
got a feeling, honestly, if you briefed that kind of crowd they’d have
all booed. It’s too big a risk. I got piss-bombed about six times –
while the Arctic Monkeys were playing. I got covered in people’s piss.
You can imagine, that crowd was so rough, it was a Manchester/Liverpool
crossover. If we’d have told them what to do I’m sure they would have
done the very opposite. Their reaction was 100 per cent genuine – with
those two just bowling out at 2:30 on a Sunday afternoon, this really
cool rapper and this mental bloke with a beanie hat on doing the
wankest rapping you’ve ever heard in your life, they just went along
for the ride.

It’s funny that you came up with the pregnancy plot just
because the actress was pregnant, as that actually provides the
emotional anchor for the film.Yeah, and this is what I’m trying to
pass on to young filmmakers, having ideas set in your head is one
thing, but when you get sent a curveball, you’ve got to go for it. I
met a young filmmaker in Scotland who’s a heroin addict, and in the
most extreme circumstances with no money he was making incredible
films, and I think this is what I’m trying to say to people – this
looks like a film that was set out and planned logically, and none of
it was. When we got Olivia Colman but she was eight months pregnant, we
thought we’d go with the baby thing because it’s even better for the
film.

How confident are you that such on-the-fly ideas will always give you something good?I trust in mine and Paddy’s
relationship implicitly; I’ve gone out with Paddy more times than I
care to remember with a wig and a set of false teeth and gone for a
drive and found something. You never know when you’re gonna get gold.
Sometimes you go out and you strike shit, so there’s always a certain
risk, but when you’re only putting £30,000 in it’s a risk well worth
taking. These sort of films can only come about by not being too clever
or too planned. I’m not naming names but people in the past have got an
ensemble together to try to improvise and it feels very much like an
in-joke; you think it’s funny when you’re sat in the Groucho Club, but
suddenly it’s not so funny on screen. We literally said the Arctic
Monkeys are letting us go backstage, we knew Amy Winehouse was gonna be
there, we thought we might try to get Donk to get off with her, maybe
it would be Donk trying to hang around with the security team, we
didn’t know what we’d get.

Do you think having a small budget like this inspires more resourceful creativity?Without question, yeah. On bigger
features with a couple of million pounds, you’ve got 30 or 40 people
around you, you’ve got the police on your side, you’ve got the council
on your side, it’s all pre-planned. Whereas on this kind of job you’ve
got no money to throw around, the crew was what you see on the film,
the line-producer, the costume lady, the editor, they’re all in it,
every single person on the film had about eight jobs.

I take it you have complete creative freedom working with Warp Films?Yes I do, complete. And the great
thing about that is you end up getting involved with people a lot more,
because you know ultimately you can make the final decision. I actually
don’t care where the best idea comes from. I’m not one of those people
who thinks it has to be my intrinsic vision; if someone comes up with
something funnier or better, I always go with it. The great thing about
having autonomy is, if you’re a responsible director you can listen to
people’s ideas because you can still make the final call. Some
directors have abused that over the years – which is why it isn’t given
out very often, but I obviously won’t work without it any more.

You did a bigger, more mainstream film with Once Upon A Time In The Midlands,
and from what I’ve read, the experience you had made you determined to
go back to your roots. Did that have a big impact on how you still work
today?Yeah, that for me was like going to
film school, everything that could go wrong on a shoot went wrong. I
didn’t have complete creative control, I didn’t have final cut. That
was the flag in the ground that made me say I’d rather make a film for
a fiver and own it than make a film for £4 million and have it feel
like not one of my own films, because it doesn’t. I made Dead Man’s Shoes after
that almost out of anger, like: I’ll show you what I can do for three
quarters of a million quid, I’m gonna scare the pants off everyone.
Because I had £4 million and wasted it, through not having creative
control, not having the right mentality, I learnt so much from making
that mistake. It was the best thing that ever happened to me, because a
lot of people in my position make that mistake in Hollywood. At least I
made it on home turf and I learnt from it and it taught me the way
forward.

Would you go the Hollywood route if it was the right project?No I wouldn’t, no. Not Hollywood mate, no.

Would you direct other people’s scripts?Yes I would, of course. Somers Town was
someone else’s script. I’d make a film in America, I just wouldn’t make
a Hollywood film. I’ve got nothing against the country.

OK. Most of your work is in some way autobiographical or at
least inspired by your childhood experiences – is the process of making
your films cathartic for you, does it put you at peace with parts of
your life?Yeah, I said when I made This is England that
it would be the last one for some time that would be directly about my
experiences because it was so emotionally draining. It’s great to get
those experiences from the past dealt with, but at the same time it’s
hard work. Now I’ve done that I’m looking to do things that move and
touch me, but are perhaps not so draining.

Yeah, I heard you were making a horror film next.I wouldn’t call it a horror film, it’s more like a psychological horror than a slasher one. Like Dead Man’s Shoes meets The Exorcist. It’ll be quite frightening I think.

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was Jacy & included a name. But the pic innciedt could've happened earlier, maybe around the time RBNS moved to wordpress. My memory's a bit fuzzy on this pic point, sorry. So yes, anyway there was Donkey in the comments & poor widdle Julesie can't comprehend the comment technology. PP then had the AUDACITY to suggest we go into chat & have it out in real time. I didn't see the problem with that, I took it as protecting RBNS & it's commenters, incase things got too crazy in ourquestion & answer session, especially in light of all the recent threats of lol-yers. So during chatgate, PP was a mod. But it was chaos up in thurr. Some commenters were not happy PP took it to chat (although one commenter reported that there were 300 people in the chatroom). They were also upset that PP was too nice to Donkey in chat. They also really did not like that PP tweeted Loren Feldman the news of Julia in ourplayground. Then she made him a mod in chat & they really despised that. And these dissenters were very very vocal. The same people who did not like PP previous to chat were now using chatgate as a way to shun PP, IMO. Sadly it worked. This also caused a rift between PP & JP b/c JP was there as a mod too but he didn't catch any flak for it. I think it upset PP when he didn't stick up for her. Then PP said fuck this shit & flew the coop forever & JP stopped posting on GOMI.The end.P.S. Happy Beefday PP =^x^=

OMG shut the fuck UP already. It's obvuois who this is. You are the only person who cares that much about chat, and the omgyourversionofthetruth campaign. Just drop it! Nobody cares what happened in chat anymore, how it went down, or your personal grudge shit against me for any part I played in it. It's OVER! Why can't you fucking accept that the rest of us want to just move on? Not because I'm trying to hide any truth' you cling to, but because it's just such a tired topic for everyone except you.Yes I'm angry. I'm angry that you keep coming here and dredging this shit up, for a good what, 3 or so hours now? WE GET IT, YOU INVENTED CHAT, ONLY YOU KNOW THE TRUTH, meanwhile the rest of us are bored with this already. Now if you'll excuse me I'm having brunch and shopping with my BFF Julia Allison, and some posts for my own blog to write. I hope you'll be patient when your anonymouse comments don't go through immediately, so try to not hit submit 75 times this round.XOXOXOXO SO BLESSED BUNNY